• Release
      March 18, 2022

          1. Industrial Good Day Mantra
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  • Like some kind of time-hopping wizard with preternatural melodic sensibilities, M Ross Perkins is back with his sophomore full-length, E Pluribus M Ross. The album, his first for Colemine/Karma Chief Records, is another masterclass in home recording with 12 shimmering slices of purely perfect psychedelic pop.

    Perkins fittingly had music journalists in a tizzy when he released his critically acclaimed self-titled full-length on Sofaburn Records in 2016. Record Collector called it “a truly great album filled with late ‘60s and early ‘70s pop goodness,” while High Times praised it as “the kind of good old-fashioned psychedelic-tinged rock & roll that the world could use right now.” Shindig upped the praise, calling Perkins’ music “the perfect percolated distillation of Nilsson and Emitt Rhodes, one minute SoCal harmony pop inspired by the Fabs’ trippy era, the next Merseybeat, and often silly, but biographical, like Harry at his best.”

    The critics are right to praise the Ohio-based songwriter and multi-instrumentalist, who conjures up his distinctively imaginative recordings all alone in his home studio. However, one would be missing the point to simply portray Perkins as a man lost in the past. The music of this unique artist is undeniably steeped in the indelible melodic hooks and laidback rhythms of the psychedelic ‘60s, but he’s no copycat.

    In describing Perkins, it’s not wrong to namecheck Rhodes and Nilsson, but you have to expand that list of influences to include pop-rock visionaries like Brian Wilson, Colin Blunstone, and even John Lennon and Paul McCartney. Let’s also throw in the Flying Burrito Brothers and the Kinks as well. Perkins clearly learned plenty of helpful tips from these and other legends that made the late 1960s and early 1970s such a magical musical time, but he has charted his own singular path from the past and back again.

    The warbly filmstrip soundtrack that opens E Pluribus M Ross lets listeners know immediately this isn’t going to be another bland modern rock album. And Perkins confirms this time and time again with each lush arrangement, with each delightfully unexpected left turn. He tastefully mines the sonically rich period from 1968 to 1972, whether it’s Mersey-inspired harmonies, haunting mellotron, Gram Parsons style country-rock embellishments, or McCartney-esque bass runs. And yet, this is no simple pastiche. A fresh, forward-thinking spirit links the old with the new, making E Pluribus M Ross the kind of album that possesses a broad multi-generational appeal.

    The hooks, arrangements, and overall sense of songcraft are as sophisticated as the work of Wilson and Nilsson, which is remarkable when you consider Perkins not only produced all of the musical arrangements but also played all of the instruments and sang all of the vocal parts on the album. Even more impressive, Perkins is able to evoke all of these iconic figures in his songs without resorting to psych-rock cliches or outright thievery. It’s an extraordinary balancing act, and what emerges is a shimmering tapestry of skillfully-woven musical threads, each harkening back to the past while simultaneously pointing toward the future.

    While Perkins had previously recorded demos of a number of the songs from E Pluribus M Ross, this recorded version of the album didn’t exist before the pandemic hit in March of 2020. Like many musicians, he admits he was struggling to be creative at the time:

    “I was just waiting to see how bad the catastrophe was going to be,” Perkins said. “Like everybody, I started to get pretty depressed. It was like, ‘Man, the world is ending.’ We didn’t know how the election was going to turn out; the entire system was just ripping at the seams. Musically, I just couldn’t imagine going downstairs and trying to be like, ‘Oooh, baby, baby.’ Trying to write a love song or something just seemed like the most ridiculous thing a person could do in that moment.”

    Perkins found inspiration when Terry Cole, founder of Colemine Records, signed him to his Karma Chief imprint in the early days of the global pandemic. “After Terry hit me up, I went downstairs and just immediately got to work,” Perkins said. “It was a shot in the arm. I went down and recorded an LP from start to finish. I pulled out a lot of unreleased songs, tried to rethink how to arrange and play them, and turned them into a new album.”

    “Wrong Wrong Wrong,” the lead single from E Pluribus M Ross, opens with a descending guitar riff that would make the Byrds blush. However, it quickly transforms into a bouncy number, in stark contrast to the seriousness of the lyrics, which touch on “fake news” and malicious disinformation. That dichotomy is something of a hallmark of Perkins’ work and reappears on tracks like “Industrial Good Day Mantra,” “Tired of Me,” and “The Butterscotch Revue.” Without eschewing any deliciously gooey hooks, Perkins leans a bit into the harder side of psychedelia with “Venti Gasp Inhale” and “Funeral For a Satellite,” a fitting, fuzz-guitar-drenched album closer.

    So, take our advice and join Perkins on his magical mystery trip through time, E Pluribus M Ross, coming this spring on Colemine/Karma Chief Records.

    M Ross’ new album E Pluribus M Ross will be available March 18, 2022 on vinyl, CD and digital/streaming formats.

    E Pluribus M Ross Tracklist:
    1. Industrial Good Day Mantra
    2. Wrong Wrong Wrong (Click here to listen)
    3. The New American Laureate
    4. This One
    5. Tired of Me
    6. It’s Your Boy
    7. The Clock Reads 60 Seconds from Now
    8. Venti Gasp Inhale
    9. Mr Marble Eyes (Marbles for His Eyes)
    10. Butterscotch Revue
    11. Pinball Blonde
    12. Funeral for a Satellite


    Tony Bonyata
    Pavement PR
    p: 262.903.7775
    e: Tony[AT]pavementpr.com




    Dayton, OH native M Ross Perkins has been taping himself at home for well over a decade. But on his newest self-titled debut effort, he’s truly hit his stride in crafting effortless California psych grooves seasoned with British invasion guitars – and all with an achingly tuneful voice recalling Nilsson & Lennon. Clever lyrics and atmosphere for days.

    Perkins has an interesting, if not peculiar past. His childhood home was on Dayton’s legendary Titus Avenue, five houses up from The Snake Pit, the basement studio of Robert Pollard (Guided By Voices). His early material was discovered in 2007 by the band MGMT, who offered a touring support slot at the peak of their breakout success. But Perkins declined the shows due to anxiety. He worked as Buffalo Killers’ roadie for their tours opening for The Black Crowes, and not long after ceremoniously burned an enormous back catalog of his recorded material during an intense LSD binge.

    It’s little wonder then that for this release the influences of both psychedelic drugs and psych acts (such as Os Mutantes, Syd Barrett and The Beatles circa Magical Mystery Tour) would play heavily next to the sumptuous ’70s songcraft of the likes of Emitt Rhodes and Harry Nilsson. Perkins’ enigmatic and eccentric personality peers through these 12 organic and often hallucinogenic pop gems: songs that surely would’ve had the A&R reps at Apple Records feverishly scrambling for pen & signing papers back in ’72.

    Perkins plays every instrument on this new record with no additional performing personnel, and also mixed and engineered the album himself in his home studio.

    M Ross Perkins’ self-titled debut album will be available on Limited Edition vinyl, CDs and digital formats on October 14th via SofaBurn Records.


    1. Humboldt County Green
    2. Project 63 Online
    3. My Poor Daughter
    4. Someone Else
    5. Ever Ever Ever
    6. Let A Little Lazy
    7. Amazing Grace (Grandma’s Dead)
    8. Habit-Formin’ Drugs
    9. Local Showcase
    10. No Good Sons Of Galveston
    11. Annie Waits In A Dream
    12. Of The Gun




    Tony Bonyata
    Pavement PR
    e: tony@pavementpr.com

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    • [5/5 stars!] “Ohio music maker M Ross Perkins weaves melodicism and wit at every turn. He’s a man completely at peace with the twin arts of songwriting and DIY recording, sculpting perfect earworms that never fail to put a smile on the face and a cheer in the heart.” – Andy Morten, SHINDIG!
    • "... warm pop bliss... a perfect pastiche of ‘60s psychedelia and orchestral pop.Like modern luminaries such as Father John Misty or Weyes Blood, Perkins’ music refracts and reinterprets, drawing something that feels fresh from well-worn combinations." - Caleb Campbell, UNDER THE RADAR MAGAZINE
    • "While comparisons are frequently drawn to artists such as Harry Nilsson, Brian Wilson, and Emitt Rhodes, traces of Byrds-era Gram Parsons, Leon Russell, and Jason Isbell -- if he’d cut his teeth in Herman’s Hermits, instead of Drive-By Truckers -- start to come into focus as well alongside Perkins’ lonesome croon and precision-grade guitar work. Much like Guided By Voices DIY-wizard and fellow vampire on Titus, Robert Pollard, M Ross Perkins has managed to cultivate all the necessary skills to solely realize his complete artistic vision: as if Isbell and frequent producer Dave Cobb could be buttoned into the same embroidered shirt." - BLAST RADIO
    • [4 stars!] "A truly great album filled with late ‘60s and early ‘70s pop goodness. Don’t miss it!” - RECORD COLLECTOR MAGAZINE
    • “… the kind of good old-fashioned psychedelic-tinged rock & roll that the world could use right now.” – HIGH TIMES
    • "... an entrancing mix of psychedelia and country rock." - DAYTON DAILY NEWS
    • "... brilliant psych-tinged American rock that really takes you back to th sixties" –SONIC BANDWAGON UK
    • “M. Ross Perkins, a neo-psychedelic musician from Dayton, gets sunny and a little silly on his self-titled debut.... and his inflection and the swirling music add whimsy to the matter-of-factness. But it's not all cheeky fun; Perkins has a grand plan for his debut in the scope of his broader, forthcoming body of work.” - ALL MUSIC
    • “ … groovy sound… M. Ross Perkins may hail from Dayton, but his sound is distinctly influenced and sounds like it could have been crafted in Southern California in the '60s.” - PURE VOLUME
    • [4 STARS!] “M Ross Perkins is like the perfect percolated distillation of Nilsson and Emitt Rhodes, one minute SoCal hamony pop inspired by the Fabs’ trippy era, the next Merseybeat and often silly, but biographical, like Harry at his best. A very turned-on album full of memorable songs.” – SHINDIG! MAGAZINE
    • “A lot goes into Perkins’ sunshine pop — Burt Bacharach, The Beatles circa ‘The Fool on the Hill’ and British Invasion pop transpire throughout the 12 tracks on M Ross Perkins.” – NASHVILLE SCENE
    • "Inspired by the vibe of the music songwriting qualities that Harry Nilsson, Emitt Rhodes, Syd Barrett and The Iveys laid down, Dayton, Ohio musician M Ross Perkins has crafted an old-fashioned album filled with psychedelic-tinged rock." - GHETTOBLASTER MAGAZINE
    • [4/5 STARS!] The hype is well-deserved—Perkins is not just a talented songwriter but a potent multi-instrumentalist as well, and his self-titled album is a tribute to that fact. Written, recorded, produced and played solely by Perkins himself, this album is a stunning showcase of tunes that demonstrates his ability to channel the best elements of 60s and 70s rock and pop. Drawing from a diverse well of influences that include the obvious (The Beatles, CSNY, The Beach Boys) and not-so-obvious (Harry Nilsson, Todd Rundgren, “Lola”-era Kinks), Perkins shows he’s right at home crafting harmony-laden psych-pop one minute and an earthy barroom country-rock shuffle the next. If the record occasionally threatens to burst at the seams from the sheer number of styles it incorporates it never actually feels disjointed, mainly due to Perkins’ strong hook-laden songwriting, which always keeps things grounded with catchy tunes and witty, relatable lyrics. - THE FIRE NOTE
    • “…a remarkable record in more ways than one. Gorgeous.” - RAW POWER MAGAZINE